Sawnie Morris

Signaling to You
January 25, 2020 Morris Sawnie

Signaling to You

i.

You live with a young leopard and a poem levitating in the gravitational landscape.

 

A leopard has its own carnivorous nature inside the omnivorous nature you share with it.

 

In the same time and place, you make a gallery of clay objects –– half-found, half-shaped –– though your husband is the one who is an artist.

 

If an art object is compelling enough, you will, without hesitation, eat it.

 

Between those two dimensions ––  a leopard-in-the-house & the gallery-of-clay-objects –– the

poem floats, a particle strand subject to snag or sudden movement.

 

The leopard is the size of your no-longer-living dog. It rises and plays awkwardly across the well-lit room and back again.

 

The leopard’s gold coat is splattered with black coins and black & gold rosettes, like protoplasm or moveable type on an ancient disc.

 

When two realities make a currency of one, empathy is embodied, as is the danger of being eaten or banked hard against.

 

ii.

You read about friendship between a golden retriever and a leopard. The photo shows them lounging together, contented after play, in the back of a pick-up truck.

 

Inside a YouTube, a leopard and a young impala play in the eco-tone between woodland

and savannah. They nuzzle and roll on their backs, hoof and paw-touch.

 

You admire the impala’s lyre-shaped horns and nine-foot leap in divergent directions, though you question its taste in friends.

 

A leopard is an ambush predator and will kill its prey with one swift bite to the neck.

 

As your husband recovered from cancer inside his neck, your dog died of cancer sprung

from a hind leg.

 

When two realities make a currency of one, compassion is present, as is the need to stay alert.

 

Living with the threat of recurrence is living with an unpredictable factor in the house.

 

iii.

When an awkward leopard appears in the home it might be an ally whose movements mimic a past heart-break –– a dog with a missing leg, signaling to you.

 

You linger, observing two habitats, the leopard-in-the-house and the clay-objects-in-a-gallery occupying the same coordinate.

 

The poem makes a life-rope the way dreams layer one another and a bleed-through occurs on the cover of a history book.

 

Your husband was in the dream, though remained outside the picture frame.

 

The dream magician says an ally is careful about exposing itself and a portent of good fortune when spotted in daylight.

Sawnie Morris’ debut collection, Her, Infinite (New Issues, 2016) won the New Issues Poetry Award (judge: Major Jackson). A poem from Her, Infinite was selected for BAX: Best American Experimental Poetry, 2016 (Editors Charles Bernstein and Tracie Morris, Wesleyan University Press, online edition). Another poem garnered a Poetry Society of America Bogin Award. A poem from her new manuscript, Held by Water, received Hunger Mountain’s Ruth Stone Poetry Prize (judge: Lee Upton), another has been a semi-finalist for the Tupelo Quarterly Poetry Prize. Poems from Held By Water have appeared in Lana Turner, Poetry, Plume, Tupelo Quarterly, Puerto del Sol, Pool, El Palacio, online at PoetrySnaps, and been nominated for a 2021 Pushcart Prize.  Morris’s chapbook, in The Sound a Raven Makes (Tres Chicas) was co-winner of a New Mexico Book Award. Her writing about poetry and poets has won a Texas Pen Literary Award and appeared in The Kenyon Review, Contemporary Literary Criticism, Boston Review, Lana Turner, Taos Journal of International Poetry & Art, and Terrain.org. Morris is co-founder and past-director of Amigos Bravos: Because Water Matters, a 36-year-old non-profit advocacy organization for the waters of New Mexico. She served as the Inaugural Poet Laureate of Taos and lives in Ranchos de Taos, New Mexico.